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  1. #101
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    Quote Originally Posted by Ollie9 View Post
    I had never heard the original 61 version before. Not to inspiring lol.
    I have no memories of the song when first released as i was to young. I do think quite possibly that it might not have been as successful had it been Diana's first solo single.
    The plaintive, wistful lyrics and the fact that it was the Supremes last single together lent the song further pathos. Had it been released at a later date it might not have had the same impact.
    Think about the period of time it was released in. While certainly the promo around the song being Diana's last with the Supremes didn't hurt, this was also at the height of the Vietnam War. I can imagine that this song's lyrics were very real for those with loved ones serving overseas or even with some who had perished. I think it was destined to hit #1 as Diana Ross and the Supremes or simply as Diana Ross. Even without the war element, "Someday" as the debut single would've probably been viewed by the public as Diana's goodbye to the Supremes anyway.

  2. #102
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    Quote Originally Posted by 144man View Post

    I'M BEGINNING TO HATE YOU ALL.
    And I shan't lose a wink of sleep...

  3. #103
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    Quote Originally Posted by sup_fan View Post
    i don't know. i do agree that with more tv promotion, it could have done better.

    But i still think the dreamy waltz atmosphere of the song is just not that exciting. The supremes debuted with Ladder and good god! a totally new sound, theme and it builds to a tremendous ending.

    Reach certainly builds but it's just never worked for me

    Imagine if Mountain had been her debut!!
    "Reach Out" is a great song, but there's no way that I would've greenlit it as the first single. Luckily it struck a cord with the public and became a hit anyway, but I have to believe that everyone involved was surprised when it did. This was the time of the feel good song. Songs about humanity and togetherness were all the rage, so in that regard I guess releasing it as a single may have made some sense. But most of those type of songs were upbeat and rousing. "Dreamy waltz" is a great description of the beat. I figure that in addition to the lyrics, what got the public on board was Diana's vocal. She sounds like she means every word.

  4. #104
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    I think reach out is a great song. It is a legendary song in popular music. It’s funny to see so many people reference the waltz tempo now. I don’t recall people discussing it until it was mentioned in one of those books. I always felt it was more gospel. Not denying what it may be, but when I hear it, I don’t think waltz.

  5. #105
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    I hear gospel too. I don't get people who think hear a waltz in it. Maybe I need to hear it again but I don't hear waltz. Definitely hear the gospel. One of the alternate versions even starts things off with a gospel organ.

  6. #106
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    I guess music experts recognize the waltz beat. But Diana’s lead vocal, the background voices of A&S, and Val’s piano playing are gospel-ish.

  7. #107
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    Diana herself referred to REACH OUT as a waltz in her interview for THE MOTOWN STORY boxed set in 1970. She said that was one of the reasons Berry didn't want to release it but it became a "good enough smash" as a debut single for her solo career. For years, she mentioned it was her desire to release it and Berry objected. Then all of sudden in MOTOWN THE MUSICAL, Berry says that it was his idea to release it and Diana objected.

    In any event, I think it is a great recording. Diana's vocal is fantastic. I don't know if I would have released it as her debut. Then again, besides AIN'T NO MOUNTAIN HIGH ENOUGH, I don't know what else on her debut album might have been single-worthy. I might have gone back to the Bones Howe material and released TIME AND LOVE and/or STONEY END.

  8. #108
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    Has anyone on this forum ever danced the waltz to "Reach Out And Touch"?. If so was it easy?.
    I have never ever thought the song hada waltz tempo, just a tinge of gospel. I agree with RanaRan in that Diana sings every word like she really means it.......A Diana classic.

  9. #109
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    Quote Originally Posted by RanRan79 View Post
    Think about the period of time it was released in. While certainly the promo around the song being Diana's last with the Supremes didn't hurt, this was also at the height of the Vietnam War. I can imagine that this song's lyrics were very real for those with loved ones serving overseas or even with some who had perished. I think it was destined to hit #1 as Diana Ross and the Supremes or simply as Diana Ross. Even without the war element, "Someday" as the debut single would've probably been viewed by the public as Diana's goodbye to the Supremes anyway.
    Yea, a good point. I had never thought of the song like that before. I was forgetting about that time capsule and what a time of upheaval it really was.
    Owing to it's plaintive lyrics and the fact that it was such a huge hit, the song might have achieved the same as the 40's second world war song "We'll Meet Again" by Vera Lynn in bringing hope and comfort to the families of loved ones whose sons were out there fighting. With that in mind it could indeed have ended up a huge solo hit for Diana.
    Last edited by Ollie9; 10-19-2019 at 04:23 PM.

  10. #110
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    Testing 123. Please ignore. Had a glitch with above post and almost lost it. Ended up with two messages.
    Last edited by Ollie9; 10-19-2019 at 04:30 PM.

  11. #111
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    This is a true classic.looooove this song.
    Sad but yet uplifting. To bad they didn't get together again but this song is one of my favorites and one of their biggest hits

  12. #112
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    I would like to point out a few artists complained about working with the Bee Gees. I think it was Kenny Rogers who stated he was told to copy Barry's demo but then one of the brothers complained he didn't make his own. He said he followed orders from Barry. I can see confusion there and I would have listened to Barry also.he seemed in charge. I think this was the same with Diana but the only complaint I heard was she turned down Islands in the Stream.
    I do think Chain Reaction was the last song recorded for the album.
    I would love to see Diana record with Barry again.he has written some great songs. Wonder if there were out takes from the Eaten Alive sessions.

  13. #113
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    Quote Originally Posted by daviddh View Post
    I would like to point out a few artists complained about working with the Bee Gees. I think it was Kenny Rogers who stated he was told to copy Barry's demo but then one of the brothers complained he didn't make his own. He said he followed orders from Barry. I can see confusion there and I would have listened to Barry also.he seemed in charge. I think this was the same with Diana but the only complaint I heard was she turned down Islands in the Stream.
    I do think Chain Reaction was the last song recorded for the album.
    I would love to see Diana record with Barry again.he has written some great songs. Wonder if there were out takes from the Eaten Alive sessions.
    Davidh, what memories does the song "Someday, We'll Be Together" hold for you?

  14. #114
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    Quote Originally Posted by Ollie9 View Post
    Has anyone on this forum ever danced the waltz to "Reach Out And Touch"?. If so was it easy?.
    I have never ever thought the song hada waltz tempo, just a tinge of gospel. I agree with RanaRan in that Diana sings every word like she really means it.......A Diana classic.
    On the 1970 collection "The Motown Story" [[that I have somewhere), Diana Ross says something about it having a waltz tempo or something close to that.

  15. #115
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    Quote Originally Posted by reese View Post
    Diana herself referred to REACH OUT as a waltz in her interview for THE MOTOWN STORY boxed set in 1970. She said that was one of the reasons Berry didn't want to release it but it became a "good enough smash" as a debut single for her solo career. For years, she mentioned it was her desire to release it and Berry objected. Then all of sudden in MOTOWN THE MUSICAL, Berry says that it was his idea to release it and Diana objected.

    In any event, I think it is a great recording. Diana's vocal is fantastic. I don't know if I would have released it as her debut. Then again, besides AIN'T NO MOUNTAIN HIGH ENOUGH, I don't know what else on her debut album might have been single-worthy. I might have gone back to the Bones Howe material and released TIME AND LOVE and/or STONEY END.
    That is exactly right Reese. I just posted something similar to what you're saying before seeing your post here.

  16. #116
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    Someday we'll be together is a classic.
    Huge amount of airplay.
    My memories are of the Ed Sullivan show n Hollywood palace.
    In real life.....Viet nam was in full swing...
    I remember Diana saying at some point ...let's bring all our boys back home.
    That has always stuck in my head

  17. #117
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    Quote Originally Posted by daviddh View Post
    Someday we'll be together is a classic.
    Huge amount of airplay.
    My memories are of the Ed Sullivan show n Hollywood palace.
    In real life.....Viet nam was in full swing...
    I remember Diana saying at some point ...let's bring all our boys back home.
    That has always stuck in my head
    I remember we were having another really rough winter that year. The weather was horrible. I remember my brother and I would leave the radio on overnight in our room. This song, Eddie Holman's "Hey There Lonely Girl", R.B. Greaves "Take A Letter Maria" and the Originals "Baby I'm For Real" were very popular at the time and I remember them playing it seemed day and night.

  18. #118
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    Quote Originally Posted by marv2 View Post
    I remember we were having another really rough winter that year. The weather was horrible. I remember my brother and I would leave the radio on overnight in our room. This song, Eddie Holman's "Hey There Lonely Girl", R.B. Greaves "Take A Letter Maria" and the Originals "Baby I'm For Real" were very popular at the time and I remember them playing it seemed day and night.
    Marv I remember that either WKNR or CKLW played Nathan Jones at a certain time every night. In fact, it was abt 8 pm ish. I used hide the radio under the pillow and listen well into the night lol! The timing was somewhat predictable for many of the songs.

  19. #119
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    Quote Originally Posted by detmotownguy View Post
    Marv I remember that either WKNR or CKLW played Nathan Jones at a certain time every night. In fact, it was abt 8 pm ish. I used hide the radio under the pillow and listen well into the night lol! The timing was somewhat predictable for many of the songs.
    Those stations united ALL Michigan kids! We all did the same things! LOL!

  20. #120
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    Even in Dearborn! lol

  21. #121
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    Quote Originally Posted by detmotownguy View Post
    Even in Dearborn! lol
    Well yeah! Dearborn is in Michigan the last time I checked. Right off Michigan Avenue. LOL! Even Toledo use to be a part of Michigan.

  22. #122
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    Quote Originally Posted by marv2 View Post
    Mary also recorded a live version for her "I Am Changing" CD:

    Perfection!

  23. #123
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    Quote Originally Posted by khansperac View Post
    I think reach out is a great song. It is a legendary song in popular music. It’s funny to see so many people reference the waltz tempo now. I don’t recall people discussing it until it was mentioned in one of those books. I always felt it was more gospel. Not denying what it may be, but when I hear it, I don’t think waltz.
    The song itself is definitely rooted in gospel, but the beat is a waltz. Pay attention to Diana at Caesar's in 79 when she's in the audience getting the entire crowd involved with the song. There comes a point where she attempts to hold clapping class for the rhythmically challenged and she tells them to do a waltz clap.

  24. #124
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    Quote Originally Posted by midnightman View Post
    I hear gospel too. I don't get people who think hear a waltz in it. Maybe I need to hear it again but I don't hear waltz. Definitely hear the gospel. One of the alternate versions even starts things off with a gospel organ.
    The style of the song itself is gospel/r&b. We're not saying that the overall sound is folky. Lol

  25. #125
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    Quote Originally Posted by reese View Post
    In any event, I think it is a great recording. Diana's vocal is fantastic. I don't know if I would have released it as her debut. Then again, besides AIN'T NO MOUNTAIN HIGH ENOUGH, I don't know what else on her debut album might have been single-worthy. I might have gone back to the Bones Howe material and released TIME AND LOVE and/or STONEY END.
    "Aint No Mountain" should've been a no brainer as the first single. Had any of the Bones Howe material made the album, "Stoney End" would've gotten a vote for me as a single. Not sure how well it would have done r&b but I think it could've been a huge hit pop for her. But I agree, there really isn't much to consider single wise from the first outing.

  26. #126
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    Quote Originally Posted by daviddh View Post
    I would like to point out a few artists complained about working with the Bee Gees. I think it was Kenny Rogers who stated he was told to copy Barry's demo but then one of the brothers complained he didn't make his own. He said he followed orders from Barry. I can see confusion there and I would have listened to Barry also.he seemed in charge. I think this was the same with Diana but the only complaint I heard was she turned down Islands in the Stream.
    I do think Chain Reaction was the last song recorded for the album.
    I would love to see Diana record with Barry again.he has written some great songs. Wonder if there were out takes from the Eaten Alive sessions.
    Artists are often temperamental by nature. Also when you get creative people in a room with the expectation to collaborate, for many of them there is bound to be some issues. Everyone has a vision and they all want a say. This is par for the course. Diana, the Bee Gees, and a million others are not the exceptions, they are the rule. Big deal.

  27. #127
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    Quote Originally Posted by Bluebrock View Post
    I agree. It was the perfect farewell song for Diana. Sombre, wistful and emotional. It worked far better as the final DRATS single rather than Diana's debut. A perfect way to move from one decade to another.
    I still maintain that Reach out and touch was a great choice for Diana's solo debut. Had she performed it on Ed Sullivan as originally planned i am sure it would have gone top 10.
    I agree that reach out and touch, had it been worked on television, would have gone top five. It made it into the top 10 both on record world and cash box… That said the sales were there way ahead of the amount of airplay it was get it… That that problem with the record in my opinion is that it was a little bit too much gospel, pop, and attempted R&B which made it impossible to get into all the playlists of any specific genre. If she had done it on a couple TV shows early in it’s launch, it would’ve gotten a lot more ads on pop and R&B stations and I think would’ve hit much bigger. Also, if it had been released right on the heels of someday we’ll be together, like up the ladder wise, the momentum of that record would certainly have helped. All of that being sad, I think the record needed a little work and a little more finesse for Rosses first solo record. The break in the song where the andantes are Bah Bah bahing around Could have been put to much better use and made it a much better record, and I absolutely hate the introduction. I do like her vocal and I like the record I just don’t love it to death. Up the latter Was the ideal launch for the Supremes, ross’ launch was not as good. Of course it’s interesting to think about the fact that her real solo debut record was someday we’ll be together and, I had of been released shortly after January 14, 1970, it would have sword to number one on the sentiment of the song alone…… Not to mention the fact that it’s a fabulous record. I’ve always wondered how she felt about that…

    PS it’s highly unlikely that you know who is going to admit anything that would indicate that he was incorrect, exaggerating, lying, or mistaken.....I’ve been reading his comments for over two decades and this is one leopard that will never change his spots. It’s interesting, but this is a trait that he shares with his idol and will literally say anything without really thinking about whether or not it’s true… Most recently when she Claimed to have invented the moniker “no-hit Supremes “I just don’t think she even thinks about it the stuff just comes out

  28. #128
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    Quote Originally Posted by marv2 View Post
    The is the more commonly known version and the one I remember from the radio:

    that is close to the original mix,But it is not it…… This is:

    https://youtu.be/KN8WvH8GafI

  29. #129
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    Quote Originally Posted by Roberta75 View Post
    Sorry but that versions one hot mess.
    she can sing a lot of songs as well, but for me, this is not one of them… It’s more like she’s singing at the song then in the song… But marvelous is right as the audience is really into this as opposed to the other version that he posted where the people like stop clapping as she leaves the stage and the MC has to come out to dead silence.

  30. #130
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    Quote Originally Posted by daviddh View Post
    I would like to point out a few artists complained about working with the Bee Gees. I think it was Kenny Rogers who stated he was told to copy Barry's demo but then one of the brothers complained he didn't make his own. He said he followed orders from Barry. I can see confusion there and I would have listened to Barry also.he seemed in charge. I think this was the same with Diana but the only complaint I heard was she turned down Islands in the Stream.
    I do think Chain Reaction was the last song recorded for the album.
    I would love to see Diana record with Barry again.he has written some great songs. Wonder if there were out takes from the Eaten Alive sessions.
    I seem to remember Barry was meant to be annoyed with Diana because she had not learnt lyrics and jetted off to present at an award ceremony midway through recording.
    When working on the ross 83 album, producer Gary Katz is also quoted as saying he was stunned by Diana's seeming lack of commitment.
    My take on it is that during the 80's, Diana had her fingers in so many pies that she was rushing here,there and everywhere. Had she slowed down a little and committed more to her music, we might have ended up with that classic rca album after all

  31. #131
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    Quote Originally Posted by detmotownguy View Post
    Perfection!
    This is a really good version. Mary does not oversing it for a change with her voice sounding rich,warm and inviting. She also blends perfectly with her background singers. As this is the final song on the Farewell album, this was indeed the last song she recorded with Diana. Credit where credit is due.

  32. #132
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    Quote Originally Posted by Ollie9 View Post
    I seem to remember Barry was meant to be annoyed with Diana because she had not learnt lyrics and jetted off to present at an award ceremony midway through recording.
    When working on the ross 83 album, producer Gary Katz is also quoted as saying he was stunned by Diana's seeming lack of commitment.
    My take on it is that during the 80's, Diana had her fingers in so many pies that she was rushing here,there and everywhere. Had she slowed down a little and committed more to her music, we might have ended up with that classic rca album after all
    You are correct when you say she had her finger in many pies. It is a pity she didn't eat some of those pies! She was working so hard whilst trying to be a hands on mother. She was making so much money but neglecting herself in other ways. She should have taken time out and not rushed into recording when she was ill prepared for it. It was not until the late 80's that she was able to relax more and let someone who had her best interests at heart take some of the strain from her. Better late than never i suppose.

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    Thanks for clarifying that Blue....
    Diana was trying to take control and probably used to Motown handling everything. Being in charge was new to her but overwhelming. She still needed guidance but I think you clarified the 80s for us.domething I had not thought of till now

  34. #134
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    Quote Originally Posted by sup_fan View Post
    ^144 you bring up a very valid point. We've all been guilty of egging on [[and sometime even engaging) in inappropriate behavior.

    I think all of us should step back, exhale and refocus ourselves on the music and the Supremes. Let's engage in POSITIVE dialog and avoid mud slinging - either to the girls or to Soulful members. And if someone DOES make an inappropriate comment, you can always block them or simply ignore their post.

    144 - i do hope you don't abandon the forum. we've had too many members slip away over the years. the only way these work and provide value is if we share and dialog. I hope you'll stay around
    I would never abandon the forum, but I do tend to not post on Supremes' topics as much as I would like to because the threads can become unpleasant so very quickly.

    It should be possible to debate with people holding opposing views as long we concentrate on the issues and never make it personal or attack the other members. What I'm asking for is a little bit of self-restraint.

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    Quote Originally Posted by midnightman View Post
    The original version is not that good. Sometimes original versions are not as juiced as they appear to be lol
    I don't think I heard the original version till the mid-60s, and it sounded dated even then. The further passing of years have not been kind to the record.

  36. #136
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    Quote Originally Posted by khansperac View Post
    I guess music experts recognize the waltz beat. But Diana’s lead vocal, the background voices of A&S, and Val’s piano playing are gospel-ish.
    I remember Ralph posting that it wasn't a waltz, but it was 6/8 tempo, but the difference was too technical for me to understand.
    Last edited by 144man; 10-22-2019 at 02:40 PM.

  37. #137
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    Quote Originally Posted by RanRan79 View Post
    And I shan't lose a wink of sleep...
    I'm surprised you've taken the trouble to post that, as I was more or less agreeing with what you had said earlier.

  38. #138
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    Quote Originally Posted by 144man View Post
    I remember Ralph posting that it wasn't a waltz, but it was 6/8 tempo, but the difference was too technical for me to understand.
    yeah it is a technical aspect.

    A waltz would typically be 3/4 time meaning there are 3 beats to a measure and the quarter note gets the beat. And often the 1st beat is dominate one of the measure.
    1-2-3, 1-2-3. or think of the "Dancing" segment in Hello Dolly. There's a sway feeling to it.

    in 6/8 time there are 6 beats to the measure and the 8th note gets the beat.

    with Reach Out And Touch, they're basically doubling the beats per measure which gives more sense of urgency. True, ROAT differs from other waltz as there's syncopation to the beat and much more gospel influence.

    And while i've not seen the original scoring and music written by A&S and arranged by Paul Riser, all of the sheet music that you can find for ROAT online is 3/4. that could be just to simplify things for basic piano music.

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    Quote Originally Posted by Ollie9 View Post
    I seem to remember Barry was meant to be annoyed with Diana because she had not learnt lyrics and jetted off to present at an award ceremony midway through recording.
    When working on the ross 83 album, producer Gary Katz is also quoted as saying he was stunned by Diana's seeming lack of commitment.
    My take on it is that during the 80's, Diana had her fingers in so many pies that she was rushing here,there and everywhere. Had she slowed down a little and committed more to her music, we might have ended up with that classic rca album after all
    Wasn't Diana's mother ill with cancer during this period also? One has to factor in the toll that cancer takes on the family of one stricken with it. I know from personal experience.

  40. #140
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    Quote Originally Posted by 144man View Post
    I'm surprised you've taken the trouble to post that, as I was more or less agreeing with what you had said earlier.
    When you said hate all, I assumed you were referring to everyone. My apologies for misunderstanding.

    I would caution you not to waste hate on these people. While they obviously get on my nerves and some things can make your head spin, like the fact that I just blocked someone I never thought I would have to block, pity is a more desirable feeling than hate. These forum antics suggests deeper issues going on off screen, you know what I mean?

    Again, please accept my apology.

  41. #141
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    Quote Originally Posted by RanRan79 View Post
    Wasn't Diana's mother ill with cancer during this period also? One has to factor in the toll that cancer takes on the family of one stricken with it. I know from personal experience.
    Ernestine past away in October 84. From what i have read her family were not aware of just how sick she was until quite late into her illness.
    The fact that Diana used songs left over from the WDFFIL sessions to comprise her second album is further indication that at that point in time she was more interested in making money then taking the time to be creative with her music. .
    The Katz recording sessions would also not have coincided with her mother's illness.

  42. #142
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    I remember Diana once saying there was a period when she got big headed and I think it was the period after Endless Love, the $20 m, and Central Park - like 1983 to 1986

  43. #143
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    Quote Originally Posted by Ollie9 View Post
    Ernestine past away in October 84. From what i have read her family were not aware of just how sick she was until quite late into her illness.
    The fact that Diana used songs left over from the WDFFIL sessions to comprise her second album is further indication that at that point in time she was more interested in making money then taking the time to be creative with her music. .
    The Katz recording sessions would also not have coincided with her mother's illness.
    That is not quite true Ollie but i will not elaborate out of respect for the family.

  44. #144
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    Quote Originally Posted by Ollie9 View Post
    I had never heard the original 61 version before. Not to inspiring lol.
    I have no memories of the song when first released as i was to young. I do think quite possibly that it might not have been as successful had it been Diana's first solo single.
    The plaintive, wistful lyrics and the fact that it was the Supremes last single together lent the song further pathos. Had it been released at a later date it might not have had the same impact.
    I agree. It made a very good "Farewell" record for "Diana Ross & the Supremes". I also believe "You Are the Heart of Me" was a great "Farewell" to The Supremes when Mary Wilson left and the group disbanded.

  45. #145
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    Quote Originally Posted by Ollie9 View Post
    Ernestine past away in October 84. From what i have read her family were not aware of just how sick she was until quite late into her illness.
    The fact that Diana used songs left over from the WDFFIL sessions to comprise her second album is further indication that at that point in time she was more interested in making money then taking the time to be creative with her music. .
    The Katz recording sessions would also not have coincided with her mother's illness.
    I know she died in 84 but I wasn't sure how long she was actually ill. I recall reading in probably CHMR that Diana was touring and flying between performances and Detroit to be with her sick mother but I couldn't remember how long that went on.

    No argument from me about Diana taking the money over the creative. I think that may have been one of the effects of what she endured at Motown, knowing how much money she had been robbed of. I can imagine that when it became clear that she was not the wealthy woman she thought herself to be and that Motown was to blame, she probably thought about Florence and how "easy" it may have seemed to go from having it all to suddenly having nothing. Add to that the fact that Diana had already been poor in her life, there may have been this Scarlet O'Hara moment..."God as my witness, I'll never go hungry again!"...and when Motown refused to pay her what she felt she was worth, took RCA's 50 mil and ran, constantly looking for the next big payoff, with the creative element an afterthought, if a thought at all.

    Reminds me of the current state of hiphop, where these "artists" see the big buck payday but have little to no interest in the creative art form. The music becomes a means to an end [[usually to escape poverty) rather than the driving force for creative expression that ultimately speaks to the masses and makes some money. If Diana were a young woman today, her lack of creativity musically might pay off. But in the 80s, Diana was a woman who had given the world of music 20 years of largely quality material, even when the songs didn't always do that well. She could go from "I Want A Guy" to "Where Did Our Love Go", but she wasn't supposed to go from "I'm Coming Out" to "So Close". Yikes!

    But she clearly thought that's where the money was. She was wrong but it didn't stop her from doing it again. [["Up Front" anyone? Yes, I'm not picking on "Pieces Of Ice" for this one.)

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    Quote Originally Posted by jobeterob View Post
    I remember Diana once saying there was a period when she got big headed and I think it was the period after Endless Love, the $20 m, and Central Park - like 1983 to 1986
    She may have said that, but I'm betting on the side of the sources who might argue that her big headed period started long before the 1980s.

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    Quote Originally Posted by marv2 View Post
    I agree. It made a very good "Farewell" record for "Diana Ross & the Supremes". I also believe "You Are the Heart of Me" was a great "Farewell" to The Supremes when Mary Wilson left and the group disbanded.
    I kind of thought that too when I first heard "You Are the Heart Of Me" and knowing it was on the b side to "Let Yourself Go". But I really consider "Let Yourself Go" as the Supremes final swan song and while not what I would've released as the final cut if I were trying for success, lyrically and feel wise I think it's a great last cut, a song about letting loose and feeling good, rather than a love song or a breakup song.

    Sound wise, the Supremes last single was excellent, both A side and B side.

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    "Someday We'll Be Together" is a phenomenal song. The musical overture in this song is epic in the history of popular music!

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    Quote Originally Posted by TNSUN View Post
    "Someday We'll Be Together" is a phenomenal song. The musical overture in this song is epic in the history of popular music!
    Agreed. All kinds o' brilliant.

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    Quote Originally Posted by TNSUN View Post
    "Someday We'll Be Together" is a phenomenal song. The musical overture in this song is epic in the history of popular music!
    I agree. It’s probably in my top ten most favorite songs.

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